All we really have when we pretend to write about the future is the moment in which we are writing. That's why every imagined future obsoletes like an ice cream melting on the way back from the corner store.

Five hours' New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm.

I loved the Limey [movie]! It's so violent! And yet it's so exquisitely romanticized in a sort of Japanese way, it's a samurai film. Coming out of that, I was really deeply conflicted, because a friend who had seen it said, it's beautiful, but it's not about anything. it's one micron thick.

I only go to Japan when there's someone who can afford to bring me there, and consequently I may never go again!

I started writing short fiction very briefly, as I imagine is the case for some novelists.

I worry about what we'll do in the future, [about the instantaneous co-opting of pop culture]. Where is our new stuff going to come from?

"Authenticity" doesn't mean much to me. I just want "good", in the sense of well-designed, well-constructed, long-lasting garments. My interest in military clothing stems from that. It's not about macho, playing soldiers, anything militaristic. It's the functionality, the design-solutions, the durability. Likewise workwear.